The Nathan G. Moore House, also known as the Moore-Dugal Residence, is a home at 333 Forest Avenue in Oak Park, a suburb of Chicago, Illinois, United States.

While the new design stayed evocative of Tudor architecture, the house was heavily ornamented by details of Sullivanesque, Mayan, and other exotic origins.

Wright's second scheme remains largely intact today and the house continues to be a private residence despite a brief period as a tour home.

Mr. and Mrs. Moore reportedly traveled to Wright's newly opened downtown Chicago studio in the Schindler Building to request his services rather than simply calling at the emerging architect's house across the street.

Wright was apprehensive to design a house in a historical style, but he accepted the commission because of his financial obligations to his family (as he said, his "three children were now running around the streets without proper shoes").

The main house was symmetrically proportioned with few exceptions – including the chimneys and window openings flanking the Superior Street entrance.

The interior was paneled in dark wood yet was amply lit by bands of diamond-patterned, leaded casement windows which opened the rooms up to the south garden.

[9] Like his mentor and former employer, Louis H. Sullivan,[10] Wright considered the copying of historic styles to be "uncreative" and completely contrary to American freedom.

These included a broad, south-facing porch complete with brick end piers, Sullivanesque details on the balustrades, and his signature bowl-shaped urns.

At the time, Wright was engaged in the construction of several projects in California, but he accepted Moore's request to design the reconstruction and appointed Charles E. White, Jr. as local coordinator.

A slate roof and masonry chimneys were rebuilt in almost identical form to the originals, but Wright chose to leave out the second floor walls.

While half-timbering was limited to the peaks of three gables, the remaining surfaces were replaced by banding of terracotta and heavily carved, geometrically patterned wood.

In these details, Wright not only drew inspiration from English Tudor, but also from Mayan architecture and the elaborate, organic style of Louis Sullivan.

[22] The stables and garden house, which both survived the fire and retained original detailing, serve as a comparison between the styles of the earlier and later designs.